Painting Fine-Art Cartoons in Oils - Enchanted Images

I am indebted to the following, in
alphabetical order:
Donald Ault. For permission to quote
extensively from his own research
and work. Professor Ault purchased
one of Barks’s first fine-art cartoon
paintings and in the 1970s helped
manage Barks’s rapidly growing “list”
of commissions. Ault is also one of the
original Barks scholars, publishing
numerous articles in the Carl Barks
Library as well as editing Carl
Barks Conversations.
Carl and Garé Barks. For the many
hours spent mentoring an aspiring
artist from the backwaters of Southern
Oregon.
Patrick Block. For the
encouragement and support both he
and his wife Shelly have expressed for
my work. And for being a painter!
Christopher B. Boyko and Jerry
Weist. Boyko and Weist organized
and administrated the Barks estate
sales, which made possible much of
my research, providing behind-thescenes
material on Barks’s painting
career that would otherwise have been
impossible to obtain.
Stephanie Brown, my eldest
daughter, her husband Shane,
and my grandchildren Hayley
and Aidan. For being models for my
acknowledgements
paintings and for being an important
part of my life.
Jeff Cain. One of the original
collectors of Barks’s cartoon
paintings, for sharing his knowledge
of Barks in the 1970s, for Carl Barks
Remembered, and for permission
to reprint some of his private
correspondence.
Daniël van Eijmeren. For
permission to quote from his extensive
website:
www.seriesam.com/barks/index.html
Jennifer, Andrew, Ryan, Ansen
and McKenzie Garvin. For being
models in my paintings and for being
such great kids.
Shiloah Garvin. For being the best
wife a painter of funny animals could
have and for helping to proof-read this
book.
Dan Gheno. For permission to reprint
photos of Barks at his easel taken in
the 1970s.
Dorothy Gibson. Barks’s daughter,
for permission to quote from Barks’s
personal correspondence taken from
Peter Kyling’s website.
Helen Hamilton. I would like to
thank Helen for granting permission
to quote extensively from her late
6
husband’s work. As the owner of
Another Rainbow, Bruce Hamilton
published The Fine Art of Walt
Disney’s Donald Duck By Carl
Barks, the Carl Barks Library, and
most of Barks’s fine-art lithographs
from the 1980s and ‘90s. It’s easy
to argue that Bruce, along with his
partner Russ Cochran, was responsible
for the success of much of Barks’s
cartoon painting career. Without
Bruce’s work, my own would have been
impossible.
David House. For being my editor
and proof-reader and friend. Any
mistakes in the book, of course, are my
own. You can read more about House’s
work online at:
www.space-worthy.com
Peter Kyling. For permission to
reprint material from his extensive
website:
www.cbarks.dk
Alex Nielsen. For permission to
reprint his photos of Carl Barks. His
website is here:
www.carlbarks.ws
Dave Sim. For purchasing and
publishing my first page of original art,
in the 1980s when I was very poor and
needed it more than he could have ever
imagined.
reference notes
Barks’s own identification system is used for all paintings: “Title,” (No. - year), i.e. “Snow Fun” (1-74), is
the first painting that Barks completed in 1974.
Reference citations use the following abbreviations:
Animal Quackers (AQ).
Carl Barks: Conversations (CBC).
Carl Barks and the Art of the Disney Comic Book (CBDCB).
Carl Barks and the Disney Comic Book: Unmasking the Myth of Modernity (UMM).
Carl Barks Library (CBL followed by set, volume, page) i.e. (CBL, II, 2, 22).
The Comic Book Price Guide No. 7 (CBPG).
The Fine Art of Walt Disney’s Donald Duck by Carl Barks (FA).
Mickey Mouse In Color (MMIC).
Page numbers follow the abbreviation, i.e. (CBC, 12).
Some material has been reprinted, by permission, from the following websites:
www.cbarks.dk
www.seriesam.com/barks/index.html
Much unpublished material has been gleaned from material collected from the Barks estate auctions and
from my own collection and correspondence. This material is noted.